Real cases
A case · you decide
The Conservator and the watercolor
The Conservator — the guardian of fragile objects in a student-curated exhibition
The star piece is a 19th-century watercolor. The design team wants a bright spotlight so it pops at 200 lux.
Light damage builds up and can't be undone. Common museum guidance keeps highly light-sensitive works, like watercolors, textiles and paper, at about 50 lux.
Our eyes adapt to low light faster than people expect, especially in a darker room.
What light level should the watercolor get?
Visitors whisper in the dim watercolor room. The label about fading gets more comments in the guestbook than any other.
A case · you decide
The Big Idea meets The Budget
The Big Idea & The Budget — a curator holding the sixty-word focus, working with the budget keeper
Twelve objects fit the theme of working hands. The budget covers eight.
Each object has a loan fee, shipping and insurance, so four have to go.
There's no single right cut. Each option changes what the show says.
Which four come out?
The team cuts by similarity, and rewrites the big idea in 52 words to match what's left.
A case · you decide
The Visitor meets The Conservator
The Visitor & The Conservator — a 16-year-old curating a school exhibition of family textiles
The star of Ana's show is a 120-year-old embroidered shawl. Light-sensitive textiles are usually shown at about 50 lux. On opening night, visitors say the case is too dim.
The Conservator is clear: light damage to dyes is cumulative and permanent. More light fades the shawl faster.
The Visitor is also right: people came to see it. The gap is a design problem, not a choice between the two.
What should Ana do?
Protecting an object and showing it are the same job, done well.